Chakra is connected script. The family includes 7 styles. There are 3 characters with swashes for basic latin. It also has multi language support (æ, ß, ç, and more).

Geraldica is a monoline script that supports foreign languages and has special characters such as ß, ñ, and ç. It includes 381 symbols including alternates with different calligraphic swashes.

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. The proportions and letter shapes are flexible, escaping from tradition to increase expressivity and personality in the design. For instance, variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. For instance, this is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The typeface has a wide range of ligatures that enhance movement and fluidity in text making look text alive.

Font ArTarumianChartarapetNew (Chartarapet from Arm. “Architect” was created as a stylization to traditional architectural lettering.

This fun font has a lightning bolt on many of the uppercase letters. It's magical!

Constanze Pro - an elegant, legible, multilingual script font, based on former Klingspor hot-metal letters.

Simple yet romantic handwriting, curly, rounded and legible - perfect for love letters or children books.

Radiac is a semi-monospaced unicase design inspired by lettering constructed from pieces of tile.

LD Verdant Leaves is a bold font with leafy designs sprouting from the thick lettering.

Rural Route JNL is a solid letter treatment of Jeff Levine's stencil font Templit JNL.

This font family was inspired by lettering found on old letterheads from the 19th century.

A fun, playful font using monospaced handwritten unicase letters. (Turn kerning off for true monospace)

The Republic Gothic series was among the last original wood type designs manufactured by Hamilton Manufacturing Co. It was first shown in Hamilton's New Gothic Faces in Wood Type (c. 1920). The design features a sans-serif style reminiscent of brush-formed letters popular with sign painters of the era. Originally issued in 6 different widths and in both outline and solid versions, this digital release features the "Extended" width known as Hamilton Republic Gothic series 775 & 776. The pair of outline and solid is designed as 'chromatics' that can be printed one over the other to achieve multiple color effects or individually as stylistic alternatives. This release features the first ever digitization of Republic Gothic. The two fonts are carefully aligned and kerned to allow for multicolor overlayment in any digital design program. It features a full Western and Central European Character set.

Like traditional athletic block typefaces, VTF Charisma is built with chiseled cornersand a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like "a", "c", and "s" demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the "A", "v", and "y" are cropped in a way that further reinforces this motif. These stylistic cues are employed throughout the family’s 7 weights, ranging from Thin to Black with an accompanying Oblique variant for each. VTF Charisma is equipped with a hefty 970 glyphs that support Small Caps, fractions, extensive Latin characters, stylistic alternates and more. Paired with its dynamic charm and strong visual appearance, the family’s horizon of capabilities broadens.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

Chilada is an outrageous display family by designer Patricia Lillie for Image Club. Across four versions, the decorate treatment inside Chilada's letters becomes more intense. Chilada characters exude an energy of their own. Their design could be described as a cross between Bank Gothic and Neuland, with a spoonful of funk mixed in. Big and chunky, Chilada's forms are made up of straight lines only. There are no curved elements. The resulting design is angular and cuts a good figure on the page. Of the Chilada family's four members, the basic font is named Chilada Uno. Uno is Spanish for one!" The forms of Chilada Uno's letter are solid black-or whatever color you choose to set them in! Chilada Dos, Tres, and Quatro each offer their own decorative treatments: Chilada Dos's letters sport a zigzag inline, Chilada Tres is decorated or an ornamented leaving leaves more black from the letters than white, while Chilada Quatro's level of decoration is just crazy. Its letters are made up more more from white space than from black marks. Chilada Quatro is almost an outline font!"

AD's Comics For All has everything you need from a professional comic book font but with a light, accessible price tag. The key to digitally lettering comics is mimicking the style and natural imperfections of hand lettering. This font was handmade and programmed (with nifty tricks) keeping exactly that in mind. The functionality of hand lettered comic book fonts definitely doesn't end at comic books. It can give an energetic and natural feel to just about any design. They can be especially handy when a bit of contrast is needed in a type-heavy layout. If you need an exceptional and affordable font to letter your indie comic book/manga/graphic novel, AD's Comics For All is an excellent choice. If you're a seasoned letterer, this versatile font is worth adding to your dialogue arsenal. If you're a designer and have never looked twice at a comic book, you'll find that comic book fonts are a category of their own and a useful tool in your utility belt.

The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke in 2002, and are part of the Take Type 5 collection from Linotype GmbH."

The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel’s letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters — stained and scarred with censor marks — were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé’s original handwriting. The result of years of research and design work, P22 Marcel Script features more than 1300 glyphs. The font is a highly readable running script that includes textural details that capture the look of ink on paper. The font Marcel Caps is a hand-lettered titling face intended as a companion to the Script. Marcel EuroPost One and Two each feature more than 200 postmarks, cancellation and censor marks, and other embellishments found on historical letters and documents.

Ever sit up late at night and dream in letters—big, expressive, swash letters. Dream Big carries those grandiose thoughts and captures them as natural brush lettering on paper. Nothing manufactured here… each letter is derived from Summerour’s own hand and translated to this typeface—lofty, expressive, and joyful. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—a Wide and Narrow cut are included in hopes of helping you find the perfect variation needed for your composition. Dream Big is the fourth release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Brithany Script is Hand Lettered Calligraphy Font with beautiful waves and natural flow. has a unique letter style, with natural handdrawn, and has a softer and smoother character subtly connect all the characters. They have a simple elegant swashes in separate letters, you can use graphic design software to access the alternate letter. Brithany Script 427+ glyphs . including initial and terminal letters, alternates, swashes, ligatures and multiple language support. o enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters: http://youtu.be/iptSFA7feQ0nn http://cuttingforbusiness.com/2016/01/28/how-to-use-opentype-fonts-in-silhouette-studio-or-cricut- design-space/ https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your purchase! and please let me know if you have any questions. via email: joelpopon@gmail.com

Not to be confused with the prolific, 1980s British super-star graphic and type designer Neville Brody, this brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Body is a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brody is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brody. If you need the original version with more lettered characters then Brophy Script is a good alternate,

Introducing "Lafonsa," a new serif font that combines stylistic typography with unique alphabet lettering and serif typography style. With a wide range of options, you can create stunning letter combinations for lettering. Lafonsa comes with open type features that offer a vast selection of alternates and end swashes to enhance your lettering. It is ideal for various purposes, including Logotype, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards, and many more. Additionally, Lafonsa supports multi-language use. To access Lafonsa's alternate glyphs, you will need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. In the zip package, you will receive Lafonsa in otf, ttf, and woff formats, with features that include uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, symbols, and multilanguage support. Overall, Lafonsa is an excellent choice for anyone who wants to create stunning and unique designs, and it is perfect for all your design needs. Its versatility and high-quality design make it a valuable addition to any designer's toolkit.

A completely isolated letters typeface design with an overall Hebrew look and feel. Glyphs were designed with an emphasis on isolation and vertical feel with a visual connectivity measure to help easy reading. The Ibrani (Arabic for Hebraic) font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Ibrani employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Ibrani includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Minicomputer is an exceptional typeface that pays homage to the antique look of computer fonts from the mid-20th century. It is a magnetic ink typeface, characterized by a versatile range of seven weights and italics, which is perfect for graphic design themes. Minicomputer also includes OpenType fractions and numeric ordinals, as well as an array of mathematical symbols that can add depth to any design. With its OpenType old-style numerals feature, Minicomputer enables users to evoke the original MICR E-13B numerals, the very numerals that were once used in bank checks. Back in the 1950s, the MICR E-13B numerals were printed in magnetic ink and were associated with the innovative technology of the time. But that didn’t stop Leo Maggs from creating Westminster, a typeface that emulated the look of the MICR E-13B. Soon after, dozens of magnetic typefaces appeared and quickly became fashionable. By the 1980s, home computers emerged, and the once fashionable magnetic typefaces became outdated. They were replaced with pixel fonts and dot matrix typefaces, which gave a fresh look to digital designs. However, designers today are reviving the magnetic typeface trend in a new context. Magnetic typefaces are now associated with a vintage look that has a unique and synthetic feel and an association with 1960s fashion trends. Despite the half-century since the first magnetic typefaces appeared, designers had limited choices when it came to using them, mainly having to rely on digitized versions of analog fonts from the 1990s. Minicomputer offers an exciting and modern take on the magnetic ink typeface and is a must-have for any designer or writer looking to add a touch of the past to their work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Presentation QuarterBraille (Abbreviated as "QB" thereafter) is a decorative, steganographic and lattice font. Its core design concept is that Braille dots are represented as "quarters of a square"[1]. This is illustrated by posters 1 and 2 (NB: these glyph parts will be called "QB dots" thereafter). The other glyph parts (see poster 3) are purely decorative and meaningless in terms of Braille dots encoding[2]. All glyph parts are meant to generate a wide variety of patterns from horizontal and vertical combinations of glyphs. There is also a graphic convention to differentiate uppercase from lowercase letters with the presence or absence of shape subparts (in the "endings", "quarter of a circle with a ring" and "quarter of a diamond with a small square in the middle") like shown by poster 4. This font is suitable for very short texts (e.g. logos, acronyms, quotes, ambigrams, pangrams, palindromes, etc...) but on the other hand it may be used for steganographic purpose like geocaching as well as fictive alphabets (e.g. Alien/SciFi/Fantasy/Antique civilizations). Posters 1. Font Logo: the displayed text is " Quarter " followed by " Braille". There's a rainbow layer above the text to highlight the "QB dots", this is achieved by A..Z glyphs with "only QB dots" (codes 230..255) 2. Anatomy of a Glyph (L) and "QB Dots" (quarters of a square) 3. Glyphs Parts: Square and Cross (Inverted square), Circle and Inverted Circle (with or without the small circle in the middle), Diamond (with or without the small square in the middle), Inverted Square and Circle, Shape combos, Ending 4. Uppercase vs Lowercase (tiny shape subparts are shown in red) 5. Sample 1: Bathroom sink with QB tiles on the credence 6. Sample 2: Hands knuckle tatoos: "LOVE/HATE"[4] 7. Sample 3: Poker Hand: pocket Aces. It's an Ace of Hearts (Ah) on the left and an Ace of Spades (As) on the right. Like in regular cards, the card value (e.g. Ah) is displayed twice: at the top and rotated by 180 degrees at the bottom. This poster also illustrates that QB could be used to print embossed playing cards with tactile and visual display of card values. 8. Sample 4: Pangram: "Adept quick jog over frozen blue whisky mix" 9. Sample 5: Latin Magic Square: "SATOR AREPO TENET OPERA ROTAS" (NB: for compensation of the 2/3 glyph ratio, letters on each line are separated by a space: "S A T O R", ...). 10. Sample 6: Quote of Mahatma Gandhi: "Learn as if you will live forever, live like you will die tomorrow.". This is also a demonstration of border glyphs combinations. 11. Sample 7: Steganography use case: the text is a sequence of 64 aminoacids (1 Letter notation), this protein was described in a research paper "The complete Aminoacid sequence of an amyloid fibril protein AA of unusual size (64 residues) 1975". 12. Sample 8: Border Glyphs with the provided styles and mixed styles. The words are the same than in poster 9 ("SATOR AREPO TENET OPERA ROTAS"). Despite the 2/3 glyph ratio, the "TENET cross" was achieved by both inserting spaces in horizontally ("T ENE T") and by using the "thin borders glyphs". Notes a. Border glyphs[3] are meant to enhance the esthetics of text samples displayed with QB b. Special characters (e.g. *$()[].,;:&@# ...) are provided and follow the NABCC (North American Braille Computer Code) convention. c. A..Z Glyphs with only the "QB dots" are provided as demonstrated by posters 1 and 2 (A/N: this was very useful to create them). d. Glyph Map: 32..64: Special characters - 161..187: "Thin variant" of Border glyphs, 192..229: Border glyphs, 230..255: A..Z with only the "QB dots" - Codes 176 an 181 are "regular SPACE" (empty glyph). Footnotes 1. There is indeed two shapes which represent the braille dot: the "quarter of a square" and the "quarter of a cross". It's because a cross may be considered as an "inverted square" because the square corners are merged in the center. 2. That's why the SPACE glyph is only made of decorative/meaningless glyph parts (i.e. no "QB dots"). 3. For other fonts with border glyphs, please take a look at my other "decorative Braille fonts" (GoBraille, HexBraille, KernigBraille, StackBraille, MaBraille, DiamondBraille, LorraineBraille). 4. LOVE/HATE knuckle tatoos are inspired by the anthology scene from "The Night of the Hunter" movie (Charles Laughton 1955), it also appearead in "Do The Right Thing" movie (Spike Lee 1989). Disclaimer This font is not appropriate and not meant to print text documents in Braille for the blind readers audience.

I will spare you the long-winded description this time and all of the motivations and witty innuendoes. Quite frankly, I forgot about creating this typeface and it sat on my hard drive for almost a year. Luckily, my daughter Isobel saw the initial drawings one day and ask me about those pretty letters and I remembered… yep, that happened. That said, time made this a better typeface… with fresh eyes and time, much was redrawn, retooled and expanded to something I truly enjoy playing with. Shameless makes extensive use of Contextual alternates to create a proper ebb and flow from letter to letter. Interestingly, there are only a handful of ligatures… instead many special combinations are accounted for solely by relying on Contextual Alts. Mix in Stylistic Alts, Swashes, responsive Titling Alts, numerous Style Sets, etc and you can have a lot of fun. I created 2 versions. A ‘Standard’ version that has 2200+ characters and a ‘Deluxe’ version that has 2400+ characters and an interesting caveat… I plan on expanding the Deluxe version any time I have an idea to add to the typeface… and as such, buyers will receive all of those updates at no charge (with updates going directly to the distributors). You get what you pay for… no insane discounts. Oh, and if you are wondering… Shameless is based on my handwriting using Kuretake Zig CocoIro pens. I love these pens.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.